Ceephax Acid Crew - Electric Independence Video Interview (2011)

Ceephax Acid Crew
Electric Independence Video Interview
[Motherboard.tv :: 2011]

Jordan Redaelli of Electric Independence sat down with Ceephax in his east London studio to talk about his love for classic video game sounds, vintage synths, how he got his start, his jumper collection and a bunch more.  We even get a bit of a gear demo.  A fun and inspiring overview of Andy's musical approach and light-hearted philosophy.





(via Motherboard.tv)

Global Goon - Quonesha EP (2011) :: Review + Interview + Exclusive Track

Global Goon
Quonesha EP
[J-HOK :: 2011]

Review + Free Download + Interview + Exclusive Track

If Global Goon's recent free album Quones left you wanting more then you'll be happy to know he has released a follow-up titled Quonesha EP, also available for free download.  In this 6-track encore, Goon extends the fun for another 22 minutes by revisiting some of the themes in Quones and pushing them even further. Vocals are back more prominent than ever in poppy track 'Squanity Twix' as a lonely robot sings, "touch me in the morning and touch me at night, touch me in the evening in the pale moonlight..." while more instrumental numbers like 'Techelec Know' and 'Wob and Cob II' are only lightly embellished with layers of the artist's unaltered voice.  That's not to say all the vocals are 100% perfect as they can be a tad pitchy at times, but never so much as to detract from a certain humble charm conveyed in this particular group of songs.  At the EP's halfway point, we enter into an entirely different vibe altogether with 'Melomimeees' combining warm low-end tb-303, kick drum 16ths, and various arcade game style sounds (think 'Bust-a-Move') with female vocal samples taken from what sounds like a late-'70s boogie vinyl grab.  Though this may sound like a crazy mish-mash of styles on paper, the result is a sexy acid-electro-funk dance floor groover in the same vein as his Quones title track, but faster and more kick-ass.  Despite the fact that he seems to be exploring new musical avenues, it just wouldn't be a Global Goon production without his signature expressive synths and bouncy electronic beats which are, much to the delight of long-time fans, very present throughout.

In addition to the Quonesha EP (and preceding album Quones), check out the exclusive track below "Chopped Brains" given to us by Johnny himself to share with you, the readers, as well as a brief interview giving us a little "behind the scenes" of his latest output.

Download Global Goon - Quonesha EP :: .ZIP (320kbps) | Download Page

Stream Global Goon - Quonesha EP


Available exclusively at Brainchops.net


Download Global Goon - Chopped Brains :: MP3 (right click, save as)

A Quick Chat With Global Goon :: Interview

Bc: Hi there, thanks for taking some time to answer a few of my questions. So, it seems you have been releasing a generous amount of material lately. To what can you attribute this recent burst of productivity? Perhaps we can all learn from it.

GG: Several things coincided.

(1) I got rid of the internet at my house (I'm typing this in the library/leisure centre)
(2) I decided to be more spontaneous - this in turn sped up my music making process
(3) I wanted to release music on J-HOK again, this inspired me to be more active

Bc: What made you decide to release this new batch of tracks as a companion piece to Quones rather than say, giving it an independent identity?

GG: The tracks belong together, Quones and daughter of Quones. They can be mixed and matched by the listener (they've been mastered to work together)

Bc: Has gigging more frequently had an effect on your more recent songwriting or how you go about shaping a track?

GG: I still don't do very many gigs, maybe 4 or 5 a year. Usually I start making dance-oriented tracks when I get back from gigs. I love to dance. I'm pretty wonky, but since I took up running, I'm fit enough to dance all night (again!)

Bc: Vocals have been creeping into your music more and more. What has inspired this?

GG: I spent a month or so a while back just listening to the Smiths and Joy Division and realised that I would love to make a track that people could sing along to.

Bc: Got any music recommendations for us? What have you been listening to lately?

GG: Smiths and Joy Division! I have no idea what else is going on. Oh I did listen to those stolen Aphex Twin tracks. Brought back many memories of our North London house and screech scrawking sounds coming from Richard's atomic absorption lab! Non music: I've just finished watching Battlestar Galactica, the reimagined series. Now I'm watching Stargate SG-1 which is pretty cheesy in comparison. If anyone has any tips for something closer to BSG then I'd love to hear them. [johnnyhawk (at) gmail (dot) com]

Joey

Bc: Any plans to tour outside the UK in the not too distant future?

GG: I'm playing in Malta this month, Croatia in a few months. No proper tours though - I have to look after my budgie.

-------------

Catch Global Goon tonight at Liquid Club in Malta - INFO

Out-Or - Analogue Gentleman (2011) :: Review + Interview

Out-Or
Analogue Gentleman
[SWISHCOtheque :: 2011]

Review + Interview + Free Download

Let's take a quick trip back in time to 1994, the year that a motley crew of electronic music performers from the UK including Richard D. James, Autechre, Seefeel, Paul Oakenfold and a few others braved a trip out to post-Cold War Moscow for an ambient-techno / electronic music festival called "Britronica". The festival itself turned out to be utter chaos for these artists due to bad organization, strange audiences, run-ins with Russian military, a few mysterious hospital visits and lots of vodka, which of course made for a legendary tour report article published in NME magazine shortly thereafter.  (The article was titled, "COMRADE: FEEL THE NOISE" and it's recommended reading for any fan of this genre.)  The most positive and inspiring moments documented in the story seem to revolve around the young local electronic artists making the most of what little gear and resources they had, as told in this excerpt:

"Most of the Russian kids we meet are similarly generous with what they have, even if in practice they have very little. DJ Eric from Moscow has lent his precious Technics turntables for use at the Youth Palace; Alexei from St. Petersburg gives out little handfuls of dried mushrooms. Eugene and Artur (also from St. Petersburg) want to start up a record shop and label, only they don't have any money and the one means of getting it, going in with the mafia, would put them right in over their heads. and Vadim, who works on the Estonian national radio station in Tallinn, DJ's on tape decks (there aren't any turntables to be had), reads NME in the library at the British Council and spends every spare penny (much to the chagrin of his hard-pressed mum) on the few records which filter over from the West. He hands out a few tapes made up in the Baltic by a guy called Marko Sula, sticks it on a rewired record player and reel-to-reel tape deck. "It's got some really weird noises on it," comments Richard James, in recognition of its value. "Maybe I'll sign it up for Rephlex."

Marko Sula, then just a young man in a newly-independent Estonia making experimental music by dubbing sounds from modified electronic devices over one another, had no idea that his tape would be heard and given a thumbs-up by one of today's most idolized electronic music pioneers, let alone have the ordeal go on record.  Now 17 years later and still making clever electronic music under the name Out-Or, he gives us his latest long-player Analogue Gentleman via the smart and colorful electronic music netlabel Swishcotheque.  Currently armed with a bit more gear, newer technology, and a penchant for fast tempos, Out-Or's fun sounds and body-moving beats firmly place Tallinn on the braindance map.

Listen to "xxd23" by Out-Or from his album Analogue Gentleman:


The album's opening track 'xxd23' is an explosion of energy and cerebral composition that will blow you out of your chair, onto the dance floor.  It feels as though all of the sounds, patterns, and beats in this track were stuck in a cage like restless circus animals, pounding against the steel bars for freedom until Out-Or opened the gate and released a musical stampede.  There are big sounds and small sounds, nice ones, mean ones, all pushing and clawing their way to the front of the mob at once.  A cute little melody manages to surface now and then, but the mad ringmaster cracks his whip and sends it back down into the mass of sinister, stabby basslines and unrelenting drums.

Out-Or conducts 11 acts in total, each with its own unique personality and melodic charm. Track 2 "FGrap one" brings the tempo down a tiny notch to a more comfortable dance pace, but still remains upbeat with manic stuttering synth rhythms and lots of funky cowbell. "Heglep2" features a Moogy sound pallet layered over familiar breaks, giving it a golden era Warp/Rephlex kind of feel.  "Acidx" brings its namesake to the party, giving 303 enthusiasts a head's up, but with its repetitive acid pattern and a length of just 1:42, the track is a bit of an effort fallen short.  Not to worry however because stand-out piece "Baical" swoops in right after, saving the show with a warm, sneaky bassline full of reverb, a jamming duck call and some heavy synth pads that work together with a glimmering dark beauty.  The artist also gives us some style variety with "VGT" covering grimey territory, "4ricy" taking us to a Detroit electro-lounge, and "RwQw" bringing us back around with some classic IDM.  The melody in closing track "Janelope" never really seems to resolve, which can leave you feeling unsatisfied. Did Out-Or mean for his finale to keep the audience unsettled? Or perhaps it was meant to provide the perfect segue for an album repeat?  We may never know this ringmaster's intentions, but Analogue Gentleman has left me applauding and wanting for more.

Download Out-Or - Analogue Gentleman :: 320kbps MP3 .ZIP | Label Page



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Interview with Out-Or
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Out-Or live, Operation B fest, 1996 Tallinn

Bc: Hello there and thanks for taking time out to answer some questions.  First off, you are the Marko Sula in the 1994 NME article, right?  What did you think when you read it? And as the readers will probably be wondering, did you ever end up working with Richard James / Aphex Twin?

Out-Or: Yes, it was my tape and I was very surprised then. It happened a long time ago. I really liked people being interested in my music but regarding a collaboration, I have never worked with Richard.

Bc: What was on that tape? Can we hear some of it?

Out-Or: There are 8 tracks on it that I made at home with very primitive technics, only 2 tape recorders, record player where i can loop vinyl (i fixed cartridge for looping), old crappy mixer which I borrowed and my old Russian synth called Polyvoks. No effects, no drummachines and nothing else. The sound was very noisy on there because I recorded over and over using 2 tape recorders, adding only one sound each time. If people are interested maybe I will put few of tracks on SoundCloud in the future.

Bc: Yes, I think we'd all be interested in hearing that. What year did you start making music and then when did you start recording it to share with others?

Out-Or: I started to make my own sounds in 1992 but the sharing began one year later, in 1993. I only kept my playing and experimenting to myself before that.

Bc: Was it difficult to find or buy synths in Estonia then?

Out-Or: Yeah, it was very difficult. The time was very complicated in Estonia, we just became independent and we didn't have money. All things from the west were expensive. My only opportunity was to use old second hand Russian synths. Those didn't have any midi or cv/gate. My timecode was my fingers and ears :).

Bc: Tell us about some of your favorite or most rare pieces of musical hardware to make music with.

Out-Or: My hardware has changed a lot from when I started. I had only the Polyvoks in 1992 and after a few years I got an Atari ST 1040 which was my first computer, and a Korg Poly 800. I also used my friend's Yamaha YS100 which I borrowed sometimes. All things changed when I got a PC and my first verison of Fruityloops in 1998. I have used different computers and software since then. If I look back to this period Polyvoks is certainly my favorite and rare piece. I also have sampled it and use it quite often in my tracks now.

Bc: Are the tracks on "Analogue Gentleman" older or newer than the material on your previous Swiscotheque release "Mistra"?

Out-Or: Most of the tracks were made in the same time, there are only few newer tracks on Analogue Gentelman.  I record tracks continuously all the time so I have a lot of finished and unfinished tracks from this time which can be gone back to and completed in the future.

Bc: Do you have any musical aliases? If so, how does the music differ from Out-Or?

Out-Or: My main project has been Out-Or since 1993 but in the year of 2000 I recorded a few tracks under Ataka. They are no different than the Out-Or style, I think.

Bc: What has been your favorite gig as a performer?

Out-Or: I love all gigs when I perform. There is no favorite, all gigs are different and inspiring.

Bc: What is your favorite gig as an audience member?

Out-Or: It is very difficult to say what is my fave but I liked Ceephax and Luke Vibert in Kisapuisto 2008 in Finland very much, also AFX in 2000 in Helsinki was mental.

Bc: Who are some of your biggest musical inspirations?

Out-Or: I get my inspiration from different styles of music and from real life.  My main inspiration is life that I feel with my eyes and ears. Also people around me.

Bc: Who are some unknown artists we should know about?

Out-Or: ...eeee.....mmmm......I don't know but if you are looking on the internet there are a lot of unknown artists. I really like Th'idiot.

Bc: So do I.  What is a day in the life of Out-Or?

Out-Or: A Day starts with coffee and ends in my studio with synths and samples. Basically I listen and make music varied with my other daily activities.

Bc: Do you have any pets?

Out-Or: No, i like animals and birds in nature.

Bc: When someone is listening to Out-Or music, what kinds of emotions would you hope they feel?

Out-Or: I hope they just like my music.

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Connect with 0ut-0r :: Facebook | MySpace | SoundCloud

Read COMRADE: FEEL THE NOISE - 1994 NME Britronica Article:: .ZIP (1.56 MB)

Rephlex Grant Promises New Music Releases From Monolith, Wisp, Aleksi Perala, Jodey Kendrick, D'Arcangelo, New Artists & More in 2011 :: News

Rephlex Records
Co-founder Grant Wilson-Claridge reflects on his favorite moments in the label's 20 years and reveals plans for 2011 in an interview with Spannered

In a killer interview freshly published today on the amazing Spannered blog, Rephlex co-founder Grant Wilson-Claridge (a.k.a. DJ Rephlex Records) announces that they will be adding some new (still top secret) artists to the roster in the album's 20th year, as well as releasing Monolith's debut full-length, and more incredible music from Wisp, Aleksi Perala, Jodey Kendrick, D'Arcangelo, and others.

Grant says, (via Spannered):

"Really importantly and imminently, Dave Monolith debut album. Outstanding. And more Wisp. Those two guys are hugely underrated or unknown by too many so do check 'em out and help us promote them, so the world becomes a better place. I have seen their music leave people crying, smiling, jumping every time everywhere. I also have the dopest album by Aleksi Perälä which is mental sub bass and pure harmonics like mother nature’s dub. A shedload of absolutely top quality lush dance tunes from Jodey Kendrick (keeping the hot core of acid house, Detroit techno and braindance burning), deep electronics from the D’Arcangelo brothers, the mysterious Steinvord and an audio-visual project from one of my favourite artists, Pierre Bastien. There are a couple of other new people in the schedule too but more info about them later..."

We also know from recent press releases that the first 3 products coming out on the Rephlex conveyor belt in 2011 are: 1.) electro-funk superstar Dwayne Omarr's "Multi Funk", a collective re-issue of 80's singles and new tunes due out Jan. 18th; 2.) "The Criminal Minds" a collage of gritty hip-hop by britcore outfit T.C.M. out Feb. 1st; and 3.) "Paranormale Aktivitat" by Zwischenwelt, an eerie, otherworldly electronic study of the paranormal out Feb. 21st by collaborative group composed of former Drexciya member Heinrich Mueller (a.k.a. Gerald Donald), New York DJ/producer Susana Correia, Spanish producer Penelope Lopez and vocalist Beta Evers (who operates a number of German labels, including Kommando 6).

This variety right off the bat is exactly what the label needed to mix things up before a slew of releases by established artists, and I love that they're keeping us on our toes with Steinvord and these alleged "new people".  Any guesses as to who they might be?  I look forward to following Rephlex in the coming year as it is shaping up to be a great one.

Read the full Spannered interview HERE.

*******UPDATE 03-MAR-2011***********

Release dates for the albums mentioned in this article have changed according to Grant to the new dates below.  We also now know the name of Monolith's debut:

"Dwayne Omarr Multi Funk (classic usa electro fusion suavity) available March 14, rephlex cat 202cd. The Criminal Minds TCM (original britcore hip hop) available 21st March, rephlex cat 208 cd/lp. next up, Zwischenwelt 'Paranormal Aktivitat' and Dave Monolith 'Welcome'."

Sk'p - Unmute Your Journey (2010) :: Review + Interview

Sk'p
Unmute Your Journey
[Planet Terror Records :: 2010]

Free Download + Interview

Sk'p is the new alias of Belgian electronic music artist Skip who is known for his hyper, playful, chiptune/drill'n'bass style and has performed along side braindance / IDM heroes such as Ceephax, Venetian Snares, and DMX Krew.  With his first release of this new project Sk'p departs from his colorful happy place into darker, more introspective territory, revealing a whole new side of him that we haven't yet heard.  Ten-track long player "Unmute Your Journey" leads us through a fascinating micro-world where we hear the sounds of amoebas and nano spores making an epic trek across vast microbial landscapes that, in retrospect, could fit on the tip of your finger.  He has a way of making small things sound big, turning tiny micro samples, synthesized pops, clicks, and droplets into intriguing complex beats and textures, and bubbling up through these expertly woven rhythms are beautiful, swelling melodies from light and pleasant to heavy and dramatic. It's an album of polaric contrast that stays true to its name and takes listeners on an up and down journey through sonic hills, valleys, deserts and forests.

Experimenting with song deconstruction, Sk'p lets some tracks like "Mentoa Mass" and "Seyefer" sway between beat-driven moments and moments of chaotic noise with mindful timing that always keeps the listener interested and excited.  Other tracks like "Kraeactor" and "Unmute 2.2" really delve into sound appreciation and ambiance seemingly without a real structure, but it's there, stretched across the vastness he paints.  Sk'p also delivers classic golden-era style IDM in tracks like "Cotrol Clod" that are just short of danceable but get your head nodding the whole way through.  "Lost Land" really showcases the range in this album, opening with residual static and stuttering pips carried over from the previous track and evolving into a full-fledged song complete with a grooving beat, warm melody, and a climactic finale that harkens back to the speedy, chip'n'bass style of preceding Skip releases.

This album is mind blowing from start to finish, but my absolute favorite tracks are the "Soivelslevios" and "Vleckeffect" spread.  Gorgeous! Epic! Huge!  The melody of the former is so incredibly moving and between the emotional choir pads and upbeat chiptune interjections I don't know whether to cry or rejoice.  Perhaps both would be in order, but after every listen I can't help but literally shake my head in awe.  The latter of the two has these sharp, metallic harmonics, steamy crescendos and oil drum rhythms that together make a brooding film score-like track to rival the best.

"Unmute Your Journey" is a modern day "Lifeforms" that gives me what I wanted out of "Oversteps".  This is one free netlabel release you do not want to overlook.  Interview after the teasers and download link.

Teasers:



Download Sk'p - Unmute Your Journey :: MP3 (320kbps) .ZIP | Label Page

Connect with Sk'p/Skip :: MySpace | Facebook | SoundCloud

// Interview with Sk'p //

Bc: "Unmute Your Journey" has a darker, more serious sound that many of your previous releases. What inspired this new sound for you?

Sk'p: Its a collection of tracks where I wanted them to be part of a different but very specific "journey" outside my releases under "Skip". Each Sk'p track also started with a specific vibe in my mind before and while producing it. These tracks were much more pre-thought, which is why I believe they sound more serious and worked out. In comparison with Skip, Sk'p tries to be much more sharp, glitchy, crunchy, experimental, slower than Skip, still very melodic, atmospheric, melancholic but not too much, and more than ever inspired by the late 90's melodic ambient and IDM.

Bc: What was the most fun or interesting aspect of writing in this style vs. upbeat drill n bass and do you feel like you've grown as a musician in the process?

Sk'p: I have grown because I think I (again) have managed to produce music I wanted to hear but couldn't find and am very satisfied with it so far. Its all about musical self-fulfilling creationism.

Bc: What albums or artists have you been listening to a lot of lately?

Sk'p: I usually keep a healthy variation along the day. But I'd have to say Edgar Froese, Nofx, Four Tet (latest stuff is beautiful), Philip Glass, unreleased Kettel-stuff, Thomas Newman, some italo disco and a wide variety of selected netlabel stuff such as Implex Grace (superb stuff, check his album "Through Luminescent Passages 2"). I also started to listen to audiobooks and radio interviews about unexplainable natural phenomena, it really feeds your fantasy.

Bc: Favorite snack or meal while writing/recording?

Sk'p: Something with tuna please.

Bc: I see that you are a sketch artist as well and have quite a lot of detailed pieces online.  Which Bic Art are you most proud of? How long did it take you?

Sk'p: Giant curved cylinders going into the white fog, or the one featuring different little organisms attached to each other, with a small black orb in the middle. I can not really say how long it took for one of those because I usually do them in many sessions. Sessions of 30 minutes to 2 or more hours. It has been over a year now since I actually did some ballpoint stuff. Partially because I'm working on a comic book concept at this time which is still in pre-phase (I only do sketching for now.)



Bc: What has been your favorite live gig to play so far?

Sk'p: I played at 2 festivals this summer, both were I believe my best and biggest gigs. Big up PeerPressure crew and Once Upon A Festival!

Bc: What is the most memorable / fun live performance you've attended so far?

Sk'p: I always very much enjoy Autechre, Bogdan Raczynski, Ceephax Acid Crew, Wisp...I couldn't choose.

Bc: How do you feel your surroundings inspire your music?

Sk'p: Absorb everything with a selective mind.

Bc: Do you think you'll continue on this musical path for your next release or try something different?

Sk'p: At one hand I'll surely continue, but other paths might get along and they could eventually mix together, who knows. It's a living thing, you don't have to rush it.

Bc: Any gigs coming up?

Sk'p: Got a couple for these last 2 months; one in a few weeks, and on january first :D !

Rock Hyrax - Dissolute Lichens (2010) :: Review & Interview

Rock Hyrax
Dissolute Lichens
[Gravity Halo :: 2010]

Free Download + Interview

7/10

Brooklyn, NY based electronic musician / photographer Nate Dorr a.k.a. Rock Hyrax (formerly known as Mercurial) has just come back from a long hiatus and he's bearing gifts.  Dissolute Lichens, his new 7-track EP available for free download from the Gravity Halo Collective, explores mysterious ambient territory full of glitchy breakbeats, resonant synths, and curious field recordings, resulting in a quality IDM release driven by wandering melodies and layered rhythms.

I first heard Rock Hyrax on the excellent Broken Pieces compilation which was recently put out by Gravity Halo.  His 2 tracks stood out immediately, especially "Sickbot" (listen below), so I was delighted to hear that he was coming out with his own release soon after.  (I highly recommend downloading Broken Pieces in addition to the new EP.)

Rock Hyrax - Sickbot (from Broken Pieces Compilation by Gravity Halo)



The Dissolute Lichens journey begins optimistically with fun toy keyboards and plucky bass guitar over a stuttery D'n'B beat in "Flutter & Disintigrate" and then moves into a selected ambient works -meets- Plaid tune titled "Ossuary", complete with haunting vocal samples, electronic piano and complex drum cutups.  The echoey melody and drum beat style in "Brunching At The Edge of Time" makes me want to describe it as "tiptoe breaks"... listen to it and you'll know what I mean.  There is a really cool sound in "Lost Horizon" that makes me think of a clay flower pot being thrown onto the ground which breaks it open, spilling out a bunch of rocks and dirt clods.  "Being In A Person's Shoes" is a :48 second twinkly d.i.y. synth pop interlude that is pleasant but always feels out of place.  (In the interview below, Rock Hyrax tells us the story behind this little piece.)  The album quickly gets back on trail with more dark ambient electronica and eventually comes to its destination with "The Quizzing Sphynx", an eerie Dead Cities style track with some really cool drum work.

Preview Tracks:


Tracklist:
01. Flutter and Disintegrate
02. Ossuary
03. Brunching At The Edge Of Time
04. Lost Horizon
05. Being In A Person's Shoes (with Chie Mori)
06. We Will Slam Them With Our Wings
07. The Quizzing Sphinx

Download Rock Hyrax - Dissolute Lichens :: .ZIP of .MP3s | Label Page


-----------------------------------------------------------------
Nine Questions for Rock Hyrax - Interview
-----------------------------------------------------------------

Bc: How did you become part of the Gravity Halo collective?

RkHx: Nearly a decade ago, a bunch of expatriated mp3.com musicians ended up hanging around an offshoot electronic music message board, among them Gravity Halo spearheader Chris Oldaker (Cats on Earth, moto-slave), Deceptikon (of Merck Records, RIP, now still going strong elsewhere), Captain Ahab (taking his virtuousicly gonzo "ravesploitation" to europe soon, I hear), Sendy (still cranking out amazing drum 'n' bass via Gravity Halo), and myself. Eventually we went our separate ways, until Gravity Halo sprang up to pull us back together again, I suppose.

Bc: How do you feel your local surroundings influence your music?

RkHx: I've lived in Brooklyn for the past six years, and both the place and the era have meant being immersed constantly in great live punk/noise/diy madness (which I've been photographing and writing about since 2007 or so), but less so the really production-heavy IDM scene, which slowed down when a lot of the smaller labels died off between 2004 and 2006. I mean, old Planet-mu/Sublight drill'n'bass-er Datach'i apparently lives here, but I've never heard of him playing live here, and he hasn't released anything in a couple years. Tigerbeat6/Tomlab multi-instrumentalist Nathan Michel lives in Brooklyn but as far as in know has restricted his music-making to being a drummer in folk rock group (disclaimer: who are totally decent, but the man has so many other skills). It seems like everyone's been somewhat dormant, the IDM explosion of the turn of the century has definitely died away. But, as I said, other directions in music have been terribly exciting, and these impulses are hardly mutually exclusive of course. But I suppose this is probably part of a longer rant.

As far as my own music (realizing I have totally sidestepped the question), I was barely making the stuff in favor of writing about other peoples', which was certainly an effect of being so surrounded by music here.

Bc: Why the hiatus and what drove you to start making and releasing stuff again?

RkHx: The time/place context described above was probably involved, as I was thinking about noise/rock/punk more than straight electronics. But more than that, my laptop was terrible at sound. My keyboards crackled when I plugged them in, even the speakers buzzed. Everything I was trying sounded awful and I barely finished anything for 5 years. And so I let photography sweep in and take over my life, which I can't say I have any regrets about. More recently: better laptop and better software. And just realizing that I needed to keep writing music, along with whatever else I'm working on. Getting prodded by friends for EPs, film soundtracks, pop production -- this has also given me motivation.

Bc: Why did you abandon the Mercurial alias and what's the significance of the Hyrax to you?

RkHx: After being essentially invisible since 2005, it really seemed time for a clean break. The Rock Hyrax is closest extant relative of modern elephant in the animal kingdom, yet they're weird unassuming rodent-ish creatures that can stick to vertical rock faces with their footpads. I really just fell into the name years ago because it sounded right, and sheer laziness prevented me from thinking of anything better when time came to record again.

Bc: What are your top 2 pieces of hardware or software?

RkHx: Soundforge is the number one. For years I did all my editing and sequencing as just straight wave-to-wave chopping and mixing, exclusively in Soundforge. It's not the most efficient way to work, I admit, but it allows a certain freedom, to just be up to your elbows in raw sound without any complicated arranging framework to get in the way. I'm sure if I hadn't essentially self-taught, I would not have ended up working in so clumsy a manner, but I don't really regret it either. Nowadays, I do sequence in Ableton, but all my drum chopping and arrangement (as well as a lot of glitch effects) have to be straight soundforge.

Bc: "Being In A Person's Shoes" is quite a departure from the other tracks on the EP. Who is Chie Mori and how did you come about using her vocals in this track?

RkHx: Chie is a filmmaker friend who writes these simple, perfect little songs and really needs someone to arrange them. I wanted to, but when she recorded 17 songs in a single day and handed them over to me, I was so overwhelmed that I only really made headway on about 4 of them. This one was most finished, and I suppose serves as a kind of palate-cleanser before We Will Slam Them With Our Wings.

Bc: What artists or albums are really inspiring you right now?

RkHx: I just learned of / can't stop listening to Felix Kubin and Gangpol Und Mit. (Who suggests that, looking globally, there's still plenty of fantastically weird electronic sound being produced.)

Bc: You have some great photos on your blog, which kind of reflect an exploratory feel I also get from your music. Are you studying photography?

RkHx: I've taken a few classes, but the photography is more or less a self-taught, all-consuming hobby. The great thing about photography is that you can have your camera on you at all times, so you're always working on it. And it pulls out into the world in a way that writing music does not (unless you're in a touring band of course). Right now, I'm years deep into examining the semi-urban post-human landscapes of places like parts of Jamaica Bay and the Meadowlands of New Jersey. If you want a cohesive thread here, perhaps it is architectural glitch (collapsing buildings, abandoned neighborhoods) versus musical? It's not something I've thought much about, I just know what sorts of landscapes move me in some way.

Bc: Now that the EP is out, what's next?

RkHx: Well, I just stayed up all night animating little flickering designs for an art show/installation/party. That'll be done tomorrow, and after that I've got a bunch photography work to do, some stop-motion to set to music, and some kind of live video-projection project I've just been invited into and need to learn for the end of the month.

Connect with Rock Hyrax ::  Blog

Monolog X - Didn't They Know Me? EP (2010) :: Review & Interview

Monolog X 
Didn't They Know Me? EP
[envmod :: 2010]

Free Download + Interview

7.5/10

We all know that the facial hair / good IDM ratio is pretty high, and Monolog X is helping keep it that way.  His latest EP Didn't They Know Me? packs an interesting variety of technique and style into 4 quality tracks, and he sports a most excellent mustache.


This EP has been in my regular listening rotation since it was released a few weeks ago, and it always gets me seriously grooving. Track 1 "I Ain't Playing" gives me a similar feeling to when I'm listening to a really good, jazzy Squarepusher track from one of his earlier albums, but even warmer and fresher.  "Can They Hear My Hunger?" begins with an alarm clock wake-up call and develops a mad scientist feel, during which I can almost imagine Monolog X in a white labcoat, hair all awry, pounding away at his electric piano in a maniacal moment of musical eureka.  MIDI-phorically speaking. 

All of the tracks contained here are quality, but I think my favorite is the title track "Didn't They Know Me?".  From the get go, this bouncy, schizo acid tune will have you looking over your shoulder while you pogo uncontrollably, as its bass hits and stabs infect you with a questionable dance virus.

Listen:


Download Monolog X - Didn't They Know Me? :: .ZIP of MP3s | Release Page (Current .ZIP contains .aiff master files!)

Want to hear more?  Monolog X has a ton of previous releases worth your bandwidth, my personal favorites being "I Will Bite Your Style" and "Zoo Humans".  So who is this mysterious Mr. X?  Eager to pick the brain of the man behind the music, I telegrammed over a few questions and below are his replies.




Bc: So how did you get hooked up with the envmod guys?

M-X: Internet.

Bc: The tracks on the EP cover quite a variety of styles. Is there a full-length in the works or perhaps more EPs?

M-X: I really enjoy the EP format, because in this day and age people don't really have time to listen through an entire full length unless you're a big name already. So when banging out plenty of EPs I feel I get a larger audience. The variety of styles is a reflection of my musical background as a guitarist, straight edge hardcore guy, rapper and a classical composer. I think there's challenge to giving a track a "Monolog X Sound" regardless of style.

Bc: What is your go-to piece of hardware? Which do you start a track with the most?

M-X: Probably the SH-101. Or simply my brain.

Bc: Who have you been listening to a lot of lately?

M-X: The Chariot and Masshysteri. My mate Trackermatte and Eminem's latest album. That was pretty fat.

Bc: Any plans for playing live soon?

M-X: Would love to play the UK but no planned gigs at the moment.

Bc: If you were cremated and had your ashes pressed into vinyl, what 24 minutes of audio would you choose to have cut into your "death record"?

M-X: Jesus, I don't know. Maybe tracks by Frank Zappa, Eminem, Piazzolla, John Cage, Bach, AFX, Billy Bragg and other shit played at the same time.

Bc: How does such a dapper man-about-town have time to cultivate such a stunning mustache AND record excellent chunes? What's your secret?

M-X: My secret is simple: avoiding meat, dairy and alcohol whilst running ultra long distances with my dog on a daily basis. That inspires me to be the best that I can musically.



Connect with Monolog X :: Official Site | MySpace

Nuearz - Saturation Point (2009) :: Review & Interview

Nuearz
Saturation Point
[Skam :: 2009]
Review + Interview

9/10

Nuearz is the solo project of Kazuhiro Okuda in Osaka, Japan, and the mad style he debuts on his first album release Saturation Point sounds like no other.  Similar to what the Future Sound Of London did with Dead Cities, Nuearz creates a soundscape that, in my mind, paints an audible picture of the gritty, futuristic, chaotic and colorful Osaka city atmosphere.

The second you press play you are immediately thrown into the artist's neon world of crunchy concrete beats, glowing skyscraper billboards, flying cars whizzing past you in all directions, and a giant, 47-story Timex watch chiming out a digital alarm to keep everything moving on time.  Modern electronic synth sounds and samples are chopped, edited, and pasted into paranoid patterns that have your head spinning and your feet moving fast.  Hints of the old world peek through each track with the use of pentatonic scales and certain stringed acoustic instruments.  I normally cringe when guitar is added to IDM, however in this case the synthesized strings embellish this album's overall personality in a good way.  All of the artist's strong sound choices and high levels of compression make over-stimulation par for the course, but once you fall in step with the chaotic rhythms of this album, you'll be grooving with the rest of us.

Nuearz's sound is fresh and unique with title track "Saturation Point", follow up "Humble Diet" and popular pick "Counterpoise" being excellent representations of his signature electronic distortion and variety of moods.  "Non Linear Vibration" features a warm melodic vibraphone sound about halfway through that is cleverly juxtaposed with metallic factory klinks and klangs, giving us a welcomed reprieve from the rawness elsewhere.  The timing in the lead melody of this track is also slightly imperfect which gives it a humanistic quality to remind us that there is a man behind the machines.  A few vague and momentary comparisons can be made such as the way "Twist and Turn" comes in reminding me a bit of Autechre's "Dael" from Tri Repetae, and the track "Innerspace" begging for a female voice to announce "Welcome to Central Industrial" ala FSOL, but stylistically as a whole, I can't think of any other artist that sounds quite like this.

I got in touch with Nuearz with a few questions about the album.  Here are preview clips for you to listen to while you read.



Bc: How did you get hooked up with Skam Records?

Nuearz: I had sent my DEMO CD to Skam last year in March and recieved a response from the label after 2 weeks. They loved my DEMO CD that included 11 songs very much and wanted to hear my other songs. I sent about 30 songs totally. They planned to release a 2xCD last year at first but the plan was changed. My 2nd CD will be released in this year.

Bc: Can you describe your frame of mind while composing Saturation Point? Or the frame of mind you wanted to convey?

Nuearz: I wanted to create a non linear sound space so I needed to make twisted grooves, rhythm loops and odd structure.

Bc: What is your favorite piece of hardware used on Saturation Point?

Nuearz: I did not use hardware, only used softwares and PC and soundcard. My favorite softwares are REACTOR, FM8, Massive, Virtual Guitalists, STYLUS, and my most favorite effect is GuitarRig.

Bc: Who made the album cover?

Nuearz: Sleeve Art work is by Fernando F. Fonseca. He is a Portuguese artist.

Bc: Both your Nuearz and Neu Arz MySpace profiles have many wonderful pictures from around Japan. Does living in Osaka inspire your music?

Nuearz: It is said that Osaka is a very chaotic city compared with Tokyo. This Chaos stimulates my creativity.

Buy Nuearz - Saturation Point :: Skam Shop | Amazon

Connect with Nuearz :: MySpace

William S. Braintree - This Is Story (2010) :: Review & Interview

William S. Braintree
This Is Story
[Future Image Records :: 2010]

7.5/10

William S. Braintree lives and composes his brand of glitchy, melodic IDM in San Francisco, CA, one of the most populous cities in the United States.  Much like San Francisco, his new release "This Is Story" is densely packed full of variety that co-exists harmoniously in the small span of an album.

The first sound you hear when you press play is the crackle and pop of a vinyl record, followed by a vintage recording from what I would guess to be some sort of self-help or relaxation album.

"I recommend that you listen to this record in the evening before you retire.  Have your wife and loved ones listen too so that good, constructive thoughts are impregnated in your consciousness just before you go to sleep."

It's true, William S. Braintree has completed a collection of tracks that are both stimulating and uplifting, though they may make you want to jump out of the lounge chair to dance.  Said to appeal to Team Doyobi or HCCBU-era Venetian Snares fans, Braintree's sound pallet knows no limit.  Tracks like "Space Birds" and "Koala March Invasion" feature classic glitchy digital percussion, warm, resonant bass, and modern synths while "Boris Karloff Is Racist" dips into a world percussion soundbank full of tabla drums and finger cymbals.  He also weaves in some older squarewave tones like on "Glass Joe", an 8-bit dirge that morphs into what I can only describe as sort of "chip-grime" with a loud, melodic breakdown that demands your attention.

Space Birds by william s. braintree

One could say that a collection of such varied tracks make an album sound "disjointed", but who cares? When it's good, it's good, and that's exactly what "This Is Story" is. One of my favorite tracks is "Burning Sand", a funky stepper which opens with a warm and snuggly arpeggiated bass synth.

Burning Sand by william s. braintree

I had a few questions for William S. Braintree and he graciously obliged.

Bc: Did you start these tracks after your "a very abbrev xmas" last year or do some of them date further back than that?
WSB: Some of them were written much before, and some were written a few months afterward. That xmas EP was written in about a week's time, actually.

Bc: What is your hardware/softsynth ratio? What is your favorite of those to work with?
WSB: Most of the album is written with software, but I have an Electribe ESX that's on a track or two. I really have no preference when it comes to hardware or software. I write music with a group from Columbus, OH [pinebox.org] that uses 99% hardware, and I'm completely comfortable working with it as if it were software. Sometimes MIDI can be a pain, but it's usually not an issue.

Bc: What do you use for your lo-fi sounds? Like in Glass Joe for example. It sounds a lot like C64 or a toy keyboard. Do you use samples or do you have some of that dusty old gear lying around?
WSB:  Some of them are definitely samples from old Nintendo, Amiga, or C64 games, and some of them are random samples I send through a bitcrusher/decimator. On Glass Joe, I actually wrote some of those patches in an FM softsynth. I prefer to get samples right from the source, but sometimes you have to improvise if you don't have them on hand.

Bc: Any plans to tour a bit or maybe some local live shows?
WSB: I don't have any plans for a tour, but I'm always playing shows in San Francisco and the bay area.

Bc: Do you feel like living in the city of San Francisco influences or inspires your music at all?
WSB:  Maybe not directly, but I do think that your environment has a heavy impact on your creativity. This city is amazing, and I hope to stay here a long time. All of the crazy events here [Howeird festival, Bay to Breakers, Love fest, etc.] really make me happy, and inspire me to be very active. So in that sense, San Francisco definitely has a profound influence on me.

Bc: What is your favorite pub or bar & grill in SF?
WSB: There are so many! Noc Noc has great music and beer, Zeitgeist has a huge patio outside, and the Bean Bag Cafe has super cheap, good beers. Also, Bender's since they have bike hooks inside and two pool tables, haha.


Buy William S. Braintree - This Is Story at:

Bandcamp | iTunes | JunoDownload

Connect w/ William S. Braintree @

MySpace | Bandcamp | Soundcloud 

Polygon Ring - Songs From The Season Labs (2010) :: Review & Interview

Polygon Ring
Songs From The Season Labs
[Kahvi Collective :: 2010]
Free Download

8/10

This album almost didn't happen, but I'm relieved that it did.  It's a beautiful collection of tracks by Bulgarian artist Polygon Ring that, in his own words, "ranges from tender and hazy interludes, through wavering instrumental hip-hop pieces, to lengthy messed up glitch affairs."

Fans of Boards of Canada and Autechre should certainly lend this album an ear as their influences on Polygon Ring's sounds and techniques are pretty out in the open.  Be that as it may, he mixes and molds the warped tape loops and textural beats into arrangements of his own, incorporating hints of traditional music from his ancestral heritage, hip-hop leaniencies, and recordings of live performance with radio receiver hardware.

His personal style really shines in the track Clouds And Other Contraptions, which happens to be a favorite of mine.  A constant drone tone provides meditative bliss while glitchy rhythms dance around you and a distant voice, sounding like it was recorded in a cathedral, sings an unintelligible but heartfelt hymn.  I hope Polygon Ring decides to explore this sound in future releases as it is both gorgeous and unique.  I also quite enjoy his shorter interludes which feature warm, Bach-like organ solos, and the instrumental hip-hop joint "A Most Unusual Camera" that includes a lazy flute loop, shimmery synths and a sampled Rod Serling monologue from the Twilight Zone.  While listening through this album from start to finish, it's easy to tell that these songs were composed by someone who has an undying appreciation and love for this style of music;  he handles it with care.  Overall this album just feels good and I recommend checking it out.

Clouds And Other Contraptions by Polygon Ring

So how did this album come about?  Mr. Polygon Ring took some time out to talk about that and answer some other questions about the release.

Bc: I read in the album description on Kahvi.org that you were urged by fans to create this album based on a single track that was heard in a podcast? How long did you work on Songs From The Season Labs before releasing it into the universe?

PR: This is not how this happened. It was actually Nik, the head of Kahvi, who found out that I was performing at last year's Artmospheric festival and was curious what I was up to musically, since I had not released anything on Kahvi for the last several years. I sent him the tracks that I played there and he was eager to release them right away. I was convinced by his positive attitude that releasing them to a wider audience would actually be a good thing. Most of these tracks were from older albums and EPs of mine that I had only sent out among various friends and never intended for world-wide release, but I was converted. Still, I wanted some time to work on what exactly to include in the album, polish a bit more some of the tracks that end up on it, and have the whole release properly mastered. This took about an year to happen, and being featured on the podcast was like a little nudge for me to lead things to completion. The album itself contains pieces dating back to 2004, and each following year till 2010 is represented by at least two tracks.

Bc: Ah, I see. So which track did you complete first, and which track was the most enjoyable to compose?

PR: Must have been either "Twisty Little Passages" or "Istedi". Both these little interludes were written about 6 years ago. Nik was keen on having the first one, and I'm pretty partial to the latter for more reasons than just the sheer sound of it. So, leading to the second part of the question, hard as it is to single a track out, I'd say this is a draw between "Istedi" and "Induce" which featured an enjoyable live performance on two radio receivers. Recording "Clouds and Other Contraptions" was a pleasant experience too. It was recorded live and has subtle references to traditional Bulgarian music with its constant drone, specific rhythmic structure, and the dvoyanka parts (that's a wooden double flute).

Bc: What artists inspire you most to make music?

PR: I enjoy tons of different music, but I guess the Autechre and Boards of Canada influences are the most obvious. Perhaps Machinefabriek has part in my choice of sonic palette as well.

Bc: Who is your favorite up and coming artist right now?

PR: There's a Bulgarian artist called Nurthice who recently released his debut album "Otono" on VU-US. Highly recommended. I'd like to mention Smartech too, a friend of mine who has been making music for as long as I can remember, but he has also released it primarily among friends until recently, so I guess "up and coming" still applies. You'll be rewarded if you make a trip to http://smartech.bandcamp.com

Bc: What was your favorite T.V. show while growing up?

PR: I was never much of a TV kid, but I have rather fond memories of "Nu, Pogodi!", a Russian cartoon that was very popular in Bulgaria during my single-digit years.

Polygon Ring doesn't have an official website or MySpace page (how rare!) but you can keep up with his musical endeavors on Soundcloud for now.  If you're a fellow music maker, you may want to explore his large collection of free electronic drum samples via the stylish http://blips.hit.bg website.  Also, if you use Renoise at all, you might find his Renoise Track Generator page interesting.


Polygon Ring - Songs From The Season Labs :: FREE DOWNLOAD | Stream M3U | Album @ Kahvi.org

Missqulater - Acid House/Breakbeat/IDM Artist from Japan

Missqulater 
Unpredictable modern acid house injected with a collage of electronic styles, lush melodies, and complex beats that defy you not to dance.
Free Downloads + New Album On The Way

27 year old Japanese electronic music maker Missqulater admittedly doesn't speak or write in English very well, but when he speaks to us through the universal language of music, his message is loud and clear. He exercises modern braindance composition techniques and sounds while honoring the classic acid house rave dance movement with an unmistakable throwback flair. Having listened to a lot of acid house and breakbeat in the late '90s and early 2000s, I can't help appreciate these stylistic homages that may be lost on newer / younger electronic fans, but there is definitely something for everyone in Missqulater's music.

When you sample the first track on his 2008 EP release "Landschaft", you will hear it begin with an Aphex Twin inspired orchestral pattern, but it is quickly layered upon with a quick beat, a lovely melodic synth lead and other rhythms that give it Missqulater's own unique flavor.  Throughout his 3 proper releases you'll find beautiful melodies intertwining with complex breakbeats, acid basslines, and funky interludes that often have me asking, "How did he come up with that?"  Vocals are scarce, but always sampled or vocoded and add a modest dose of funkiness, which comes as a relief to those who appreciate instrumental tracks.

Missqulater - Landschaft EP
[Tres Catorce Netlabel :: 2008]
7 Tracks



FREE DOWNLOAD + STREAM

As you listen to each of Missqulater's releases in chronological order, you can hear his sound palette and style become more varied.  His All Things Considered LP encapsulates such an explosion of ideas and wide assortment of styles but still maintains a signature sound.  The track Primal Zuper Acid is classic 4:30am rave while "Stop Smoking Peace Light" features soothing pads and sometimes dissonant chords overlapping eachother backed by an acoustic drum kit playing freeform jazz, yet somehow it all still fits within the context of this IDM album.

Missqulater - All Things Considered
[Love Love Records :: 2009]
17 Tracks

FREE DOWNLOAD

His latest output is an E.P. titled "Transaction Acid" released earlier this year and is probably his most complex yet most ravey so far.  It opens with a fast tempo'd, optimistic acid jammer overlayed with distant angelic choral pads and busy rhythm synth and continues to evolve into some pretty nostalgic, party-tastic dance tunage. 

Missqulater - Transaction Acid EP
[Tres Catorce Netlabel :: 2010]
7 Tracks



FREE DOWNLOAD + STREAM

I wanted to know a little more about the man behind the cat face and where he gets his inspiration so I sent out a couple of questions like a message in a bottle across the Pacific Ocean and was happy to discover it had floated back with answers from Missqulater himself.

Bc:  Who has been your biggest inspiration to make music?
Missqulater:  My best hero was Michael Jackson in my childhood and now is Luke Vibert.  Luke is my fav and my best teacher.

Bc:  What has been your favorite live performance so far?
Missqulater:  Mogwai. I was Teen and shocked, The Loud Noize and Silence Melanchoric was so sweet!  Electronic Side, Squarepusher and Mouse On Mars, Juan Atkins are Farburous.

Bc:  What is your favorite style to compose?
Missqulater: Based On ACID House, Breakbeat, Electronica, IDM.  Twist many Knobs Of Synths, and Chopped The Breakbeats On Computer.

Bc:  Who are your favorite "up and coming" artists right now?
Missqulater:  Beatwife, End Pitch, Lactation Sandwich, Shiv, Psyspy, Acid Druid, Llen Rain Recordings

Bc:  When will your next release be?  And will it be an E.P. or L.P.?
Missqulater:  Soon My New LP coming On Spanish Netlabel "Tres Catorce Netlabel"  This Album taste is "Ravy-Acid breaks", Dont Miss It :)

Bc:  What did you have for breakfast today?
Missqulater: Haha, I didn't.  Nothing 'cos I am Hangover now (Thankful for holydays).  Just Drink Fresh Orange juice and Listen to "Polynomial-C" by Aphex Twin.

Hook up with Missqulater online at the links below and stay tuned for a review of his next album.

Missqulater :: MySpace | Twitter | SoundCloud